TEDDY SHIFT Remastered

The Vermont Teddy Bear Company has two Star Trek Teddy Bears, one dressed as Captain Kirk and one dressed as Mr. Spock. While there have been Trek teddies before, none have had the quality and durability of these bears, which are heirloom quality. My father often says that you get what you pay for, and although he was probably talking about shoes, the same is true for teddy bears.

TEDDY SHIFT Remastered

Download File: https://www.google.com/url?q=https%3A%2F%2Furluso.com%2F2uhLy0&sa=D&sntz=1&usg=AOvVaw018P77L1SnUzUQWF9bbRun

In fact, the Vermont Teddy Bear Company offers excellent customer support even after you buy the bear. If your Star Trek bear is ever injured (perhaps a transporter accident or your pet Porthos thinks it is a chew toy), you could send Kirk-bear or Spock-bear to the Vermont Teddy Bear Hospital for no charge and get it repaired or replaced. In other words, your purchase is guaranteed for life and the bear is intended to be something that is in your family for generations (not Star Trek Generations though because we know what happened to that teddy bear).

The Stylings of Silver is a swinging & classy album by pianist Horace Silver recorded in May 8th, 1957. It features performances by Silver with Art Farmer, Hank Mobley, Teddy Kotick, and Louis Hayes."The 1957 Horace Silver Quintet (featuring trumpeter Art Farmer and tenor saxophonist Hank Mobley) is in top form on this date, particularly on "My One and Only Love" and their famous version of "Home Cookin'." All of Silver's Blue Note quintet recordings are consistently superb and swinging and, although not essential, this is a very enjoyable set." (Scott Yanow, AMG)Horace Silver, pianoArt Farmer, trumpetHank Mobley, tenor saxophoneTeddy Kotick, double bassLouis Hayes, drumsRecorded May 8, 1957 at Rudy Van Gelder Studio, Hackensack, NJDigitally remastered

Horace Silver When Horace Silver once wrote out his rules for musical composition (in the liner notes to the 1968 record, Serenade to a Soul Sister), he expounded on the importance of "meaningful simplicity." The pianist could have just as easily been describing his own life. For more than fifty years, Silver has simply written some of the most enduring tunes in jazz while performing them in a distinctively personal style. It's all been straight forward enough, while decades of incredible experiences have provided the meaning.Silver was born in Norwalk, Connecticut on September 2, 1928. His father had immigrated to the United States from Cape Verde---and that island nation's Portuguese influences would play a big part in Silver's own music later on. When Silver was a teenager, he began playing both piano and saxophone while he listened to everything from boogie-woogie and blues to such modern musicians as Bud Powell and Thelonious Monk. As Silver's piano trio was working in Hartford, Connecticut, the group received saxophonist Stan Getz's attention in 1950. The saxophonist brought the band on the road and recorded three of Silver's compositions.In 1951, Silver moved to New York City where he accompanied saxophonists Coleman Hawkins, Lester Young and many other legends. In the following year, he met the executives at Blue Note while working as a sideman for saxophonist Lou Donaldson. This meeting led to Silver signing with the label where he would remain until 1980. He also collaborated with Art Blakey in forming the Jazz Messengers during the early 1950s (which Blakey would continue to lead after Silver formed his own quintet in 1956).During these years, Silver helped create the rhythmically forceful branch of jazz known as "hard bop" (chronicled in David H. Rosenthal's 1992 book, Hard Bop: Jazz and Black Music, 1955-1965). He based much of his own writing on blues and gospel---the latter is particularly prominent on one of his biggest tunes, "The Preacher." While his compositions at this time featured surprising tempo shifts and a range of melodic ideas, they immediately caught the attention of a wide audience. Silver's own piano playing easily shifted from aggressively percussive to lushly romantic within just a few bars. At the same time, his sharp use of repetition was funky even before that word could be used in polite company. Along with Silver's own work, his bands often featured such rising jazz stars as saxophonists Junior Cook and Hank Mobley, trumpeter Blue Mitchell, and drummer Louis Hayes. Some of his key albums from this period included Horace Silver Trio (1953), Horace Silver and the Jazz Messengers (1955), Six Pieces of Silver (1956) and Blowin' The Blues Away (1959), which includes his famous, "Sister Sadie." He also combined jazz with a sassy take on pop through the 1961 hit, "Filthy McNasty."But it was a few years later when Silver would record one of his most famous songs, the title track to his 1964 album, Song For My Father. That piece combined his dad's take on Cape Verdean folk music (with a hint of Brazilian Carnival rhythms) into an enduring F-minor jazz composition. Over the years, it has become an American popular music standard, covered not only by scores of instrumentalists, but also such singers as James Brown.As social and cultural upheavals shook the nation during the late 1960s and early 1970s, Silver responded to these changes through music. He commented directly on the new scene through a trio of records called United States of Mind (1970-1972) that featured the spirited vocals of Andy Bey. The composer got deeper into cosmic philosophy as his group, Silver 'N Strings, recorded Silver 'N Strings Play The Music of the Spheres (1979).After Silver's long tenure with Blue Note ended, he continued to create vital music. The 1985 album, Continuity of Spirit (Silveto), features his unique orchestral collaborations. In the 1990s, Silver directly answered the urban popular music that had been largely built from his influence on It's Got To Be Funky (Columbia, 1993). On Jazz Has A Sense of Humor (Verve, 1998), he shows his younger group of sidemen the true meaning of the music.Now living surrounded by a devoted family in California, Silver has received much of the recognition due a venerable jazz icon. In 2005, the National Academy of Recording Arts and Sciences (NARAS) gave him its President's Merit Award. Silver is also anxious to tell the world his life story in his own words as he just completed writing his autobiography, Let's Get To The Nitty Gritty (University of California Press, scheduled for fall 2006 release).

Having started out as a lost girl with no memory, Kat quickly embraces a superhero role within the city of Hekseville as a gravity shifter. Her adventures eventually take her to the ends of the world, where she is allowed glimpses of her clouded past.

Kat woke in the abandoned slums of the city to find a mysterious and seemingly otherworldly cat sitting beside her. She eventually befriended the creature and named him Dusty. During her first encounter with the city folk, she discovered that Dusty had the ability to manipulate gravity, and he helped her save a child from a raging Gravity Storm. Later, creatures called Nevi had begun to appear around the same time as Kat's awakening and the rise of another shifter named Raven. With Dusty's help, Kat continued to help people in need, gaining the trust of the city folk. Eventually, people began to regard her as a superhero figure, giving her the title "Gravity Queen." Even the city's Police Force requested her assistance in threatening situations. During her heroic efforts to restore the missing parts of Hekseville, she would occasionally find resistance from the mysterious Raven.

In part two, Kat is at home with Raven, feasting on savory snacks and chatting away until an alarm is raised about a gravity disturbance at Neu Hiraleon. Rather than head out for ice cream as planned, they instead decide to investigate the disturbance. They are greeted by a couple of strange cyborgs of unknown origins. Despite getting her head stamped on, Kat and Raven defeat the cyborgs, which suddenly self-destruct and send both shifters, Syd, and Neu Hiraleon itself into a gravity storm. Kat ends up in an uncharted location along with Syd but separated from Raven, which sets up the plot for Gravity Rush 2.

In Gravity Rush: The Animation - Overture, Kat is also pretty gourmand. This was shown as she spent all her money buying various snacks in the plaza of Lei Colmosna, capable of fighting an entire horde of Nevi just for a meat skewer, and crying over said skewer after she failed to save it. In the second episode, while hanging out with Raven, the two shifters indulged in numerous snacks inside the Pipe House.

Kat is a shifter, a person who is able to manipulate and produce gravity, at will. When doing this, her body glows red and a strange luminous heart-like object can be seen inside her chest. She can't actually fly, but because she shifts gravity, she's instead in a levitating state; when she moves through the air, she's technically "falling" in the desired direction.

In Gravity Rush, Kat would learn special attacks from Power Trees in the Rift Planes that are the Spiraling Claw, the Gravity Typhoon, and the Micro Black Hole. The Spiraling Claw, as it sounds, is a technique that involves Kat spin-diving into her enemies with shape-shifted claws. Depending on the size of the target, it will determine if Kat crushes or strikes them. The Gravity Typhoon involves Kat creating gravitational energy and hailing it at a target. In Gravity Rush 2, the Gravity Typhoon performs differently; Kat now uses objects from the environment and hurls them at her target. The Micro Black Hole has Kat summon a black hole that engulfs and destroys most things within its center, in Gravity Rush and Gravity Rush 2.

Her gravity-shifting abilities are entirely dependent on Dusty; if they are separated, or if Dusty is weakened by "Nevidelic" (Nevi killer food), she will be unable to use any of her powers, or their efficiency will be weakened severely, respectively.Kat appears to be incapable of fighting when hungry, as she complains about an empty stomach in Gravity Rush: The Animation - Overture. 041b061a72